It was quite good. Stephen Thrower describes it in his book as a pivotal film in Franco’s career and writes he wanted Vincent Price to play the lead role. That would have been something. But Jess is actually really good here.
His name was king
Nice western with plenty of action und unse klaus kinksi as a bad guy as uasul
well of to another movie
The Punch Bowl (1944) - A German cult movie very popular before X-Mas 
“Hans Pfeiffer and some of his friends are drinking “Feuerzangenbowle”.
Talking about their school-time they discover that Hans never was at a
regular school and so, as they think, missed an important part of his
youth. They decide to send him back to school to do all the things he
never could do before”
UNKNOWN (2011, Jaume Collet-Serra)
One of the many recent action vehicles starring Liam Neeson, a bit (but only a bit) different from the others. He’s not a CIA veteran this time, but a professor with partial memory loss after a car accident in Berlin (where he was supposed to visit a biotechnology meeting), and instead of a straightforward action flick, Unknown plays more like a paranoia thriller. When trying to piece things together, Neeson discovers that another person has taken his identity (and his wife). What is going on?
The credibility factor is low from the start but director Collet-Serra handles the paranoia theme rather well and Neeson adds a necessary emotional note to theme of a man who is robbed from the only certainty we all seem to have: that we’re we. But a good a premise and a good start don’t make a good movie. As the whole thing progresses, it becomes more and more preposterous, a string of implausible plot twists. And yes, Liam eventually becomes an invincible action hero once again. Nice cameos by Bruno Ganz and Frank Langella can’t save it, but indiscriminating fans of action and mystery might still like it.
5/10
Not heard of that one, will take a look.
That movie really gave me a deja vu feeling: Funeral in Berlin with Michael Caine, Polanski’s Frantic, couple of Hitchcock’s…
1990: The Bronx Warriors
Horribly campy flick, even by Castellari’s standards. But a great BluRay for sure.
http://www.amazon.co.uk/gp/product/B00TQUPJVK/ref=as_li_tl?tag=gcdb-21
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I’ve got this on my Amazon wish list. I haven’t seen it since it was a newly rentable VHS tape in, what, 1984-ish? I still remember it through my 12-year-old-boy eyes, so I can only recall it as being bloody excellent, but I’ve got a feeling that’s probably not the cold truth of the matter. 
Halloween III - The Season of the witch - 1982 - Tommy Lee Wallace
Yeah a Halloween too late. Anyway I had to check the title twice, didn’t had Michael Myers in it, after a few research I understood why it didn’t, Myers was “dead” so it was time to move on.
Well the film isn’t that bad, better than some of the Halloween sequels, got that 80’s taste with an usual but specially good Carpenter soundtrack, vevry melodic with creepy freezing feeling.
The plot is weird but interesting seems more like science fiction mixed with terror, and the ending is strange, quite strange.
I’m really not a great fan of Tom Atkins, but he’s not bad as the unsual hero, the villain played by TV habitue actor Dan O’Herling really steals the show, great villain form the nasty kind
In the overall a nice surprise Halloween or not,
My favourite Halloween film, as its just so different from the other Halloween films.
Prefer the 2 sequels, never really liked the original anywhere near as much as Escape from the Bronx
The last film I watched was Bitter Moon. I couldn’t help but laugh at it. I saw someone describe it as a “poor man’s Eyes Wide Shut.”
Yes, completely ridiculous mess
I nearly turned it off, but it got more interesting in the 2nd half
I don’t think is that bad, it does have Emmanuelle Seigner at her… let’s say best, and I could totally relate with Coyote’s character, maybe not the best actor for the part. Not a brilliant film, but one you won’t Forget after watching it
I couldn’t relate to any of the characters. I’m not saying it’s such a bad film but it’s incredibly corny. The ending cracked me up.
ANOTHER WOMAN (1988, Woody Allen)
A Woody of the serious kind. Like some other serious movies by this director it was inspired by Bergman, in particular the director’s Wild Strawberries. Gena Rowlands is Marion, a philosophy professor recently turned fifty, who feels forced to re-examine her own life after overhearing (accidently) a psychiatric session of another woman. Like that other woman, Marion feels her life is false and empty: by rationalizing all her decisions, she has turned her life into an emotional wasteland. As a young woman she had an abortion because she didn’t want to put her professional career in jeopardy (and she now regrets the decision). She also discovers that her second marriage is unsuccessful because the man she really loved was her second husband’s best friend. She sent him away because she didn’t want to hurt the feelings of the man she had promised to marry …
I haven’t seen Wild Strawberries in a while, but Rowlands’ character Marion seems very close to the professor in Bergman’s movie, and I’m not surprised that some critics (and fans alike) thought that in this particular case ‘inspiration may have led to plagiarism’ in some scenes (most notably in the dream sequence). The ensemble of actors is great and as usual Woody brings up the best in most of them. Another Woman is beautifully made, but as more often in the case of a serious Woody, you can’t help asking if some scenes wouldn’t have worked better with an added dose of his trademark acuity and wit. Some said the dialogue sounded as if the lines were written in Flaubert French first and then translated into English. That eloquently put, but personally I think there’s not too much wrong with the dialogue as it is; the real problem is that you often have the feeling that Woody was desperately trying NOT to be funny. Good, but not great.
7/10
I liked the original T.V. series growing up, decided to give this a watch.
Hmmm… it was alright, nothing special but certainly not bad, much different than I expected. Guy Ritchie’s trademark show’s it in this-it’s heavily stylized, wonderfully shot and somewhat wildly entertaining with some cool action scenes and good soundtracks, but the dialogue could have been better IMO. Henry Cavill did a good job as (Solo) his character seemed about right, but on the other hand Armie Hammer as (Illya)seemed miscast and his cheesy Russian accent did him no favors. It was nice to see Hugh Grant in a brief cameo, he was funny and (Ex-Machina) Alicia Vikander she was good and memorable in this. All in all…it was alright.
THE BIG CLOCK (1948, John Farrow)
A paranoia thriller, influenced by Welles and early Hitchcock, about the editor of a crime magazine (Ray Milland), a happily married man who was asked to postpone his honeymoon seven years ago by his boss, a tyrannical media tycoon obsessed with clocks (hence the title). Seven years later, on the eve of a combined honeymoon-vacation with his wife, he’s asked to postpone the trip again - and refuses. He resigns but then misses his train and ends up getting drunk with a blonde he accidently meets in a bar. The next morning he is asked by this tyrannical media tycoon to investigate a murder. And yes, the victim is the blonde and our man soon discovers that all clues are pointing in his own direction …
The movie was remade as No Way Out (starring Kevin Costner) and the same idea was used in the French police thriller Police Python 357 (starring Yves Montand). In most thrillers we are in the dark as to what happened and depend on a smart detective - who’s always one step ahead of us - in thriller of the Big Clock type we know what happened from the start while the detective is groping in the dark until the very last minute. It may sound a little artificial, but in the hands of a skillful director it’s a fascinating narrative device.
The Big Clock is very watchable, but it’s far from perfect. Rita Johnson’s role as the blonde is ill-defined; in the source novel by Kenneth Fearing both the editor and his boss had an affair with the blonde, adding some spice to the premise, but in 1948 a love triangle involving an unfaithful husband was out of the question in a major Hollywood production. There’s also some silly humor featuring Elsa Lanchester as an eccentric artist that is completely out of place and almost turns the movie into an oddball comedy. But director John Farrow keeps up the pace red-hot and Charles Laughton sure is the man you love to hate as the media tycoon. A young Harry Morgan is remarkable as a silent henchman.